(black vinyl)
Ian Barry and Bryan Tulao’s treated guitars work black magic of their own. Less Cult of Luna and more doom-metal Black Mountain, the drugged-out guitar shmears in “Deerslayer” and “Torment of the Metals” aren’t just pretty -- they evince a nasty strain of psychedelic paranoia. Enhancing that narcotic-'70s vibe is Timms’ shaman wail. It’s filtered and indistinct, like the ghostly wisps of Brightblack Morning Light on an awful trip. The unintelligible lyrics themselves matter less than the way her voice dissolves into Black Math Horseman’s dark puffs. She’s the distant soul that whispers through this music, the dead girl at the bottom of the well. 

Producer Scott Reeder captures the desert fumes that he knows so well from his days in Kyuss. Wyllt’s not all formlessness and ether though. Black Math Horseman work hard to maintain their corner of the underworld, layering grimy psych-rock husks atop Popovic’s limber pounding on “Origin of Savagery,” slamming home when it’s prudent. They fully earn the 11 minutes of the album’s final benediction “Bird of All Faiths and None/ Bell from Madrone” by letting their outwardly and inwardly terrifying impulses coalesce. Black Math Horseman inspire belief in the boogeyman again. (From Prefix Mag)